Commercial television editor delivers stunning spots using an Adobe Creative Cloud workflow
Our friend Adam Pertofsky at Rock Paper Scissors has been busy these last few months. Since we last spoke with him, he’s completed the third part of the Captain Morgan series of commercials and cut three additional spots, one of which aired during the Super Bowl. We took a few minutes to catch up with him on his recent projects and use of Adobe Creative Cloud:
Adobe: Tell us about the Super Bowl commercial you worked on.
Pertofsky: It is the 60-second “Going All The Way” Coca-Cola spot that aired during the second half of the game. We worked on it with Wieden+Kennedy. I did all of the editing in Premiere Pro CC, as well as some color correction for the client presentation. It is a really sweet, classic spot that a lot of people will be moved by and enjoy.
Adobe: What other projects have you worked on?
Pertofsky: I cut a simple, funny commercial for Chevy that will air during the Winter Games. It was an easy process of working in Premiere Pro to do cuts and throw in some graphics using the Luma Key. I also used the title tool in Premiere Pro to set up a string of options for the creative director to look at and it was amazing and super simple.
Adobe: Did you use any other Adobe tools on this project?
Pertofsky: I’ve been using a lot of Adobe Media Encoder, which I find really fast and terrific. Recently, I was at my daughter’s volleyball practice and I needed to do some unexpected cut downs for the Chevy spot. I jumped into the back of my car, set up the project, did the cut downs, threw them into Media Encoder and was able to upload them using my phone.
Adobe: What’s the biggest project you’ve worked on recently?
Pertofsky: I cut a four-and-a-half minute commercial for Samsung with R/GA San Francisco. In the spot, aliens take over the earth and challenge the world to a game of football (soccer). It is a massive spot with a lot of variations and the version I worked on ties everything together. I used a lot of tools within Premiere Pro and a lot of After Effects CC, which was terrific. Reframing things and putting them in the right position before sending everything to the post house for final finishing was so easy and fast in Premiere Pro.
Adobe: How do you feel about the Captain Morgan series you completed?
Pertofsky: The last Captain Morgan spot came out great and I’m really proud of it. The project involved heavy use of After Effects and Premiere Pro. I love knowing that when I have a big effects gig going I have powerful programs that I can work with to make the offline presentation look good. For the Captain Morgan spot I used After Effects to create a garbage matte around an object that let me move things around easily and quickly, which was a huge help. Moving elements around and reframing is much easier and faster thanks to Dynamic Link; I can line everything up in Premiere Pro, quickly jump into After Effects, and then easily go back and open the project in Premiere Pro again with all of the moves applied.
Adobe: Now that you’ve been working with Adobe Premiere Pro CC for a while, have you made any new discoveries?
Pertofsky: One of the tools that works great in Premiere Pro is mixing on the fly. I can set it up, mix the spot, and it leaves keyframes behind that I can manipulate further later. A lot of times as I’m showing a rough cut to a client I’m actually mixing it in Premiere Pro at the same time. Then when they ask to watch it again, I’m just fixing the mix and it speeds up the whole process. This is also useful because clients don’t have the appetite to look at rough cuts, they want to see it as close to finished as possible without paying for it to be finished. We have to do as much as possible in the cutting room to make it look good. All of the LUTs that are in Premiere Pro are terrific for doing quick color changes.
Adobe: Are there any other tools that help speed your workflow?
Pertofsky: I have an NVIDIA Quadro K5000 and it makes me completely forget about rendering. With everything going in and out of After Effects and adding effects in Premiere Pro, it never slows me down.
Broadcaster uses Adobe Creative Cloud workflow to create opener promoting the winter games
The Winter Games are a chance for us to witness magic moments of incredible artistry and athleticism performed by the amazing athletes competing there. But in order for us to do so, broadcasters around the world spent months preparing for that short period of intense coverage. For Swiss Radio and Television (SRF), a publicly funded broadcaster serving the German-speaking part of Switzerland, the preparations included creating a stunning opener that builds excitement for audiences tuning-in to the games. Patrick Arnecke, head of design and promotion, leads the creative team responsible for design and production of the on air campaign.
Adobe: Tell us about the Swiss Radio and Television.
Arnecke: The SRF is a publicly funded broadcaster that serves the German-speaking part of Switzerland. We maintain two full-blown 24/7 TV channels, a TV repeat channel for news programs, seven radio channels, and an extensive online portal.
Adobe: What teams do you work with at the SRF and what do they produce?
Arnecke: I’m the head of the design and promotion team. The design team consists of 25 designers who do all corporate design, motion graphics and interaction design for SRF. Creatively they are responsible for channel branding, campaigns, image clips and labels as well as show packaging. We also do all of the 2D and 3D animation used for our TV magazines and news shows. The promotion team has eleven editors and promo producers who work on traditional on-air trailers as well as cross media campaigns.
Adobe: Tell us about the work you’ve done for the Winter Games?
Arnecke: Last year during the summer we started to rethink our overall sports design. We have various sports programs on air and wanted to repackage the whole set of shows for SRF zwei, our main entertainment and sports channel. We regularly cover huge events like the Winter Games for the Swiss audience, and we needed to come up with a solution for those events as well, and tie that into the overall design.
We decided to center our redesign around the core idea of the “magic moment”—those rare moments when extraordinary athletic performance seems almost supernatural. We then spent five days shooting all the necessary plates using RED Epic and Phantom Flex cameras, special camera rigs with a high speed camera carousel, and a huge 15m x 9m x 7.5m green screen area. Among other things, we staged ice hockey, alpine skiing, figure skating, snowboarding, ski jumping, and cross country skiing. Everything was conceptualized, directed, and pre- and post-produced by four in-house designers. From that footage we produced a 28-second opener for our Sochi coverage along with the show packaging, and the promo teasers that we used to ramp up the campaign in January.
Adobe: What products are you using to produce your content?
Arnecke: Right now we have a mix of Adobe Creative Cloud and Creative Suite 6 software. On the design team we use Photoshop, Illustrator, and InDesign. Our main tool for 2D animation is After Effects, and we rely on Cinema 4D as our main 3D package. The closer relationship between Adobe and Maxon and the strong connection between Cinema 4D and After Effects comes in very handy for our pipeline.
At the beginning of 2013 we started using Edge Animate to create small, interactive HTML5 elements to give our online news articles more depth and interactivity. For our video content, we started to work with SpeedGrade to give content from different sources a uniform look. During the last months we switched to Premiere Pro as our main editing tool, which replaces Final Cut Pro.
Adobe: What was the workflow for creating the Sochi opener?
Arnecke: In pre-production the responsible designers Martin Bernhard (director) and Simon Renfer (co-director) used Photoshop, with Wacom tablets and screens, to create the storyboards. On set and after the shoot was completed, we used SpeedGrade to convert the Phantom material and then edited the content in Premiere Pro. Lead 3D Artists Jürg Dummermuth and Simone Nucci did all of the 3D CGI with Cinema 4D. In addition to using After Effects for previsualization and animatics, it was also used for 2D animation, keying, rotoscoping, retouching, compositing, and grading. We’ve done a lot of smaller projects such as show openers and image trailers using Premiere Pro, but the Sochi opener is one of the biggest projects we’ve done to date with the new workflow.
Adobe: Why did you make the switch to Premiere Pro?
Arnecke: After Apple didn’t continue Final Cut Pro, we were looking for alternatives. The pipeline efficiencies that let us easily switch between Premiere Pro and After Effects are important to us. Premiere Pro is especially useful if we shoot on RED cameras because thanks to the Mercury Playback Engine we don’t have to convert and we can edit right away. We usually like to edit on set to see if what we’ve shot is exactly what we need.
Adobe: Tell us how you’re using Adobe Edge Animate CC?
Arnecke: We have a small team of designers who work on infographics for our daily news shows. We use graphical content created for on-air programming, add interactivity and repackage that content for our news articles online. For example, for the election of Pope Franziskus or the 50th anniversary of the President Kennedy assassination we created interactive explanatory pieces with Edge Animate. These interactives give more depth to our news articles online and typically take us one to three days to produce—last year we did more than 150 of these.
See examples of the infographics here
Adobe: What’s next for your team?
Arnecke: We’re planning a seven day shoot that will take place in March for our summer sports. With the success of the winter sports workflow, we’ll be using a similar setup.
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Art directors are becoming animators. Print designers are becoming web designers. Illustrators are also photographers and editors who also shoot film. They are the New Creatives, and we are celebrating their work.
With the Creative Cloud our product teams have removed the barriers to creative expression: Designers can build parallax HTML5 experiences. Illustrators are making EPUBs. Photographers are using their cameras and Adobe technology to become filmmakers. And coders have the tools to make beautiful design.
It’s an amazing and interesting time in our industry; people have the ability to self-express, in any discipline, without boundaries. I Am The New Creative promotes the amazing work our community is producing and marks this moment in time as a movement and a celebration of creativity.
One of the most incredible aspects of this program has been watching creative professionals merge their mediums and their portraits to produce “New Creatives” versions of themselves.
There’s something magical about the compositions. As a designer there’s always a part of me in my work, but to personalize my work in this way, to make my work more representative of me, presents an alternative perspective. All of the artists we’re working with are enjoying this experience and are appreciative of our desire to promote their amazing creative output.
Our new site highlights the New Creatives, their disciplines, their work, and their stories.
Visitors to the site can join us and become New Creatives (submissions are made through Behance and curated by our team); we’ll be choosing a number of artists and celebrating them and their work throughout our social properties and on Adobe.com during the coming year.
Be sure to check out the work of the New Creatives, get inspired, and join us.
Projection mapping installation relies on Adobe Creative Cloud tools
It almost had to happen. Tom Wait’s spooky spoken word song What’s He Building in There, is so evocative, so “visual” that it’s like film that plays in your mind. The challenge, though, is how to actually make a film that does justice to the genius of the original piece.
Ricardo Rivera, visual artist, filmmaker, and founder of Klip Collective, began exploring video projections when he worked as a club VJ in Philadelphia. “In 1998 I was playing around with Photoshop and discovered how to map images to surfaces,” recalls Rivera. “When After Effects added the ability to preview work through a mini DV connection, I discovered that I could easily play content through a digital projector.” Rivera pointed the projector at a wall in his kitchen and used it to canvas the surfaces. “Then I masked all of the elements in the kitchen using Photoshop and created what was, in effect, a multi-channel projection feed through one projector and one feed.”
Once Rivera had figured out the workflow, the possibilities were endless. Today Klip Collective holds two patents on projection mapping, a technique whereby video content is projected onto non-traditional display surfaces such as the sides of buildings, often as site-specific art. Different physical surfaces come to life in unexpected ways in a dance of shapes, color, and imagery, melding the permanence of architecture with the transience of light. These are the kinds of new frontiers for art that digital tools make possible.
Animated short film leverages tools in Adobe Creative Cloud
Drew Christie is a new kind of multimedia artist, as comfortable with pen and ink as he is with computers and creative software. Allergy to Originality, which will be shown at this year’s Sundance Film Festival, is a case in point, demonstrating how fluidly he moves between natural media and digital image manipulations.
Combining illustration with animation, the short film riffs on the theme of originality and plagiarism with long passages lifted verbatim from Wikipedia. The piece maintains a natural hand-drawn feel along with the uneven, slightly jumpy cinema of the old silent movies.
“I started creating animation before I knew what animation was,” recalls Christie. “When I was a young child I filmed my Star Wars figures using my dad’s video camera. It just went on from there.”
Creative Cloud is always evolving and ongoing updates are one of the most popular benefits for users. In a fast-changing industry, Creative Cloud members always have the latest versions of the pro video tools as soon as they are available, including feature enhancements and optimized performance.
This morning updates for Adobe Premiere Pro CC, SpeedGrade CC, Prelude CC, and Adobe Media Encoder CC will begin rolling out. The new video updates will become available to Creative Cloud members over the next 24 hours. A new After Effects CC update will follow soon.
Adobe Premiere Pro
Adobe Premiere Pro CC has seen four new releases in this year (June , July , October, and now, December) – all within the 6 months since the CC version was announced. Guided by user requests, the Adobe Premiere Pro CC December 2013 release adds Open CL performance enhancements, media management improvements like multiple Media Browser tabs, new editing enhancements for even greater workflow efficiency, and delivers more intuitive voiceover recording.
“Adobe is committed to delivering the best professional NLE in the industry,” said Al Mooney, senior product manager for Adobe Premiere Pro. “Video pros need tools that keep up with ongoing developments in film and broadcast. That’s exactly what Creative Cloud gives them.”
After Effects CC, the leading motion graphics and visual effects application, is evolving faster than ever with Creative Cloud. “Our team turned around this release in a matter of weeks based on direct feedback from our users,” said Steve Forde, senior product manager for After Effects. “With regular Creative Cloud updates, we’re able to continually evolve and enhance our feature set. Your tools just keep getting better.”
The After Effects CC December 2013 release will offer customizable output of file name and path templates, improved snapping behavior, enhanced scripting options, and the ability to migrate user settings when updating to newer versions.
More updates for video pros
Creative Cloud offers video pros an integrated workflow across the video production applications. The December 2013 releases also includes updates to SpeedGrade CC , Prelude CC, Adobe Media Encoder CC, and Adobe Anywhere for video. Along with performance enhancements, SpeedGrade also offers expanded camera format support in Direct Link mode. Prelude CC has added support for the latest Adobe Anywhere protocols. Adobe Media Encoder now includes Sony XAVC format support, and Adobe Anywhere introduces performance improvements and diagnostic tools for monitoring system status.
Creative Cloud: one million strong and growing
There are already over one million Creative Cloud members with more joining every day. Already a Creative Cloud member? Launch the Creative Cloud application to get started using these great new features. The new updates will be available there within 24 hours.
Not yet a Creative Cloud member? Sign up for a free membership and get access to 30-day trials of every Adobe creative desktop application, including the latest versions of all the video tools.
Want to learn a new creative app? Both free and paid members also have access to cool new training videos, including sample work files, in Creative Cloud Learn to help you get up and running fast.
Richard Jobson uses all Adobe Pipeline on Wayland’s Song
We really pushed the boundaries of what you can do with the Creative Cloud software. For me, it’s almost like being in a punk band again with Adobe: SpeedGrade and After Effects are my drummer and my bass player and Premiere Pro is my guitarist, who’s been getting much better. I have my band, and now I can tell my stories.
- Richard Jobson
Leveraging the complete Adobe Creative Cloud toolset, Wayland’s Song, which premiered at Cannes on May 25, 2013, was written and directed by Richard Jobson. A former movie critic and television host, Jobson started his career as the charismatic front man for 1970’s punk band, The Skids. After working in broadcast, he began screenwriting in 2000 and was soon directing short films and game cinematics. Early writing and directing highlights included Heartlands, and 16 Years or Alcohol.
As an independent filmmaker Jobson brings a practical, can-do attitude to his work, producing movies that are technically innovative and pioneering in terms of subject matter; such as his visually powerful 2009 human trafficking short, The Journey.
Filmmaker Richard Jobson speaks about Waylands Song at Adobe&Filmmakers event.
Already familiar with Photoshop and After Effects, Jobson started editing with Adobe Premiere Pro in 2011 to conform and finish The Somnambulists – an arresting portrayal of fallen service personnel, recounting their experiences in Iraq, from beyond the grave.
“Premiere Pro allowed me to go back to the original, native rushes that I shot in camera, without changing or degrading the image,” said Jobson. No other software allowed me to do that. With Premiere Pro’s dynamic link to After Effects, completing the film in Adobe software was a no-brainer for me.”
For his latest feature film, Wayland’s Song, Richard Jobson moved to an all Adobe workflow: Starting with Adobe Story Plus, which he used for script editing, preproduction planning, and to generate detailed production schedules, all the material was moved smoothly through Adobe Prelude, Adobe Premiere Pro, After Effects, Adobe Audition, and finally SpeedGrade for finishing.
Creating Wayland’s Song
Inspired by a Nordic myth, Wayland’s Song tells the story of a British soldier returning from Afghanistan. While the world he left behind him seemed dark and medieval, the world he returns to appears little better. He discovers that his daughter has disappeared and the film follows his search for her, a journey through friendship, tragedy and ultimately revenge.
“I have always loved a kind of graphic sensibility in my stories,” reflected Jobson. “The Wayland character has almost been lifted from a graphic novel. I love that type of thing. In all of my films I use the camera and lighting to create this quality.”
Wayland’s Song was beautifully shot on the Canon C300 by Director of Photography Andrei Austin. Offload, back-up and ingest was done with Adobe Prelude, which the production team used for shot-logging, adding metadata for use in postproduction, and pre-editing.
Adobe Prelude was used for camera file ingest and shot logging on Wayland’s Song.
Visual effects and graphics were created entirely in Photoshop and After Effects, including a series of colorful, experimental sequences portraying the main character’s collapse into a seizure. “I suffer from epilepsy myself, and I wanted to visualize that overwhelming sensory experience, where mind and body are flooded with light and you enter a world of hyper reality,” said Jobson.
The film was edited by Steven Sander in Adobe Premiere Pro. Moving to a native workflow allowed for a much faster pipeline that required no transcoding or rewrapping of files. XDCAM, Apple ProRes and H.264 codecs were all mixed on the same timeline in a smooth, seamless process. The combination of HP hardware, an Nvidia Quadro 5000 graphics card and the Mercury Playback Engine in Premiere Pro eliminated rendering from the editing process and allowed instant feedback when working with complex visual effects.
“I was instantly impressed by the speed and responsiveness of Premiere Pro,” said Sander. “It seemed to handle everything we threw at it and it was great to be able to switch between Mac and Windows hardware, as needed, without converting sequences or media.”
Audio clean-up and mixing was done in Adobe Audition by musician and composer Keith Atack, who previously worked with Jobson on Heartlands and 16 Years of Alcohol. “This was a really fun and challenging project. A number of the team have a background in video game production and we tried to bring some of that dynamic to both the visuals and the sound design,” said Atack. “Audition lets me to work quickly and intuitively, allowing me as a sound designer to stay in the creative moment and get instant feedback. That was really useful for the more experimental sections of the film.”
Audio editing for Wayland’s Song was done in Adobe Audition.
Grading and finishing were completed in SpeedGrade by colorist Dado Valentic at his MyTherapy facility in central London. Valentic has been a longtime SpeedGrade user.
“We actually developed the looks for the project in SpeedGrade before we started production,” explained Jobson. “This allowed us to view our shots as they came in with the creative looks applied. It was really helpful – just one of the ways that these tools allowed us to work faster and more efficiently.”
Colorist Dado Valentic talks about his work with SpeedGrade on Wayland’s Song.
“Richard gave me a lot of creative freedom on this project,” said Valentic, “so I could really put SpeedGrade through its paces. I applied technical looks, which I created to adjust the camera color spaces, along with the creative looks Richard used during production. With SpeedGrade, all of these color adjustments are layered so it’s easy to combine all of them for a final result that is both color corrected and stylized with the artistic look of the film.”
Filmmaking with Adobe Creative Cloud
Jobson joined Creative Cloud in 2012, soon after it became available, and couldn’t be happier with the service and the tools. “Adobe Story Plus gives me a great place to start my projects, and with the whole package I have all the tools for production right through to finishing. This software gives me the freedom to make films the way I want to make them.”
Wayland’s Song premiered at the Cannes International Film Festival on May 18 and will see theatrical distribution in the UK and Europe in September 2013.
Join Richard Jobson for an Ask a Video Pro online seminar at 10 am PST on June 13, 2013. Signup is free http://adobe.ly/p6ZMbd
At this year’s Adobe MAX conference, Academy award-winning Visual Effects Supervisor Rob Legato excited the audience by sharing a glimpse behind the scenes of work he’s done on major blockbuster films such as Apollo 13, Titanic, Aviator and Hugo. He reveals his secrets behind visual effects, his inspirations, and creative process.
Known for creating visual effects so good the audience doesn’t realize that they are effects, Legato aims to transport the movie-goer into another time and place. His ideation process is surprisingly simple, as he looks to the past for inspiration. His talent, coupled with the use of creative tools for video professionals from Adobe, help Legato execute beautiful and memorable scenes in modern-day film.
For more, you can view his entire talk on Adobe TV or below:
We’ll be focusing on all-things video production for the remainder of this week. Be sure to check us out on Facebook and Twitter for more inspirational stories, creative work and product news and tutorials.
As we take some time to focus on video production, we wanted to spotlight individuals who are masters of all things animation, our Creative Cloud logo redesign artists Dvein.
Based out of Barcelona, Dvein is not your run of the mill production and design firm. They are a collective of three directors who love animation, design, and all things creative. Fernando Dominquez, Creative Director for Dvein, defined it best when he said, “It’s a factory of all the things that you can imagine.”
Creative Cloud assists the creative minds at Dvein in each and every step in their creative process. Beginning with initial sketches, they utilize Photoshop to take their ideas to a whole new level. Then, they use the power of Premier Pro or After Effects when they are ready to turn creations into animations.
The icing on the cake; Behance integration in Creative Cloud enables Dvein to better expose themselves to the design community and connect with international clients.
Dvein:The Vein ‘Magma’
Dvein on the web:
“I work without seeing what I’m creating. Programming is like writing words.”
If qubibi’s words rings true for you, you might want to dive a bit deeper into his story. qubibi’s inspiration spurs from his observations around his home city Tokyo, Japan. He uses the city’s energy to craft his designs, emphasizing in animation. When asked how he turns an idea into art, he reveals, “I begin by writing and then I imagine music. After that, I start using digital tools like Photoshop without making any sketches, I just work directly on the computer and see how it evolves… In my case I can’t create art without Creative Cloud.” Check out his recent redesign of the Creative Cloud logo and more background on his work in the video below:
The Creative Cloud provides designers like qubibi with built-in shortcuts for everything from debugging to simple animations so they can spend less time on tedious tasks and focus on what makes web design fun, creativity. qubibi uses Creative Cloud to access his work from any computer at any time and benefits from sharing his work with fellow designers on Behance. Find out more about Creative Cloud and the future for web designers like you.